James Rosenquist was an American painter at the height of the pop-art movement.

He was born in Grand Forks, orth !akota on ovember "#, $#%% and continues to work toda&. 'pon inspection, the ma(orit& of Rosenquists) paintings are made up of various *ight va*ue, high intensit& co*ors+ evoking an energi,ing mood. -er& few of his paintings wou*d be considered .dark/+ and then there is .0eak& eck/. 1his painting differs from Rosenquist)s other works in terms of co*or, concept, mood, and *ight. .0eak& eck/ was painted in $#2". 1he co*oring is monochromatic, on*& consisting of shades of primar& b*ue. 3ince the co*or b*ue is *ocated on the coo* side of the co*or whee*, .0eak& eck/ has a mood that cou*d be described as dark, grim, co*d, creep&, ghost*&, or g*oom&. 1he background is made up of a dark shade of b*ue with some strokes of a *ighter shade of b*ue to create the s*ightest notion of depth, or possib*& a surface of sorts. 4onceptua**&, this painting is quite foreboding. 1he foremost sub(ect of this painting is the g*ass bott*e at the center. 5hi*e the bott*e has some transparenc& due to the g*ass, the center of the bott*e is a*most nontransparent due to the air& *ight b*ue tint. 1his cou*d be due to the bott*e being co*der than its surroundings, or that the bott*e is containing a fog or smoke inside of it. A** of the components in this painting appear to be .f*oating/. F*oating inside the bott*e, is the trans*ucent out*ine of a sku**. 1he out*ine is not on*& transparent to the fog that surrounds it, but it incomp*ete in some areas, giving it a subt*e or ghost*& *ook. 1he si,e variation between the bott*e and the sku** is of unrea*istic proportions. 1herefore, in order to fu*fi** his concept, Rosenquist painted either a tin& ghost sku**, or a bott*e the si,e of a *arge (ar.

1he contrast between the bott*e and the dark background is estab*ished due to Rosenquists) use of *ight intensit&. 1he *ight intensit& makes the bott*e)s *ight b*ue tints appear even *ighter. 6t is apparent that he was not aiming for a da&*ight scene, but was sti** ob*igated to paint the bott*e ver& *ight in order for the painting to be visua**& appea*ing. 1he *ight source is either off screen, or the bott*e itse*f is radiating *ight, but this wou*d require for there to be a s*ight g*ow around the bott*e. 1he ref*ections on the bott*e are the *ightest shade in the painting, which assists in drawing the viewer)s e&e to the center, which is the foca* point of this image. 6f one were to tr& and compare .0eak& eck/ to one of James Rosenquist)s other works such as .5omen7s 6ntuition, after Aspen8 or .Hitchhiker/, *itt*e comparison cou*d be made. 1he other two paintings feature various high saturated, swir*ing hues+ and possess white backgrounds, which evokes a more positive mood. .0eak& eck/, with its dark mood, hues, va*ue, and concept stands apart from Rosenquist)s other paintings, as it appears to be the opposite of his other works.